KRITIKË DHE BIBLIOGRAFI
Gustav Majerit, Fjalori etimologjik i gjuhës shqipe Shaban Demiraj, “Epiri, pellazgët, etruskët dhe shqiptarët”, Infobotues, 2008 “Fjalor i termave themelorë të bujqësisë”, Tiranë, 2006
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Gustav Majerit, Fjalori etimologjik i gjuhës shqipe Shaban Demiraj, “Epiri, pellazgët, etruskët dhe shqiptarët”, Infobotues, 2008 “Fjalor i termave themelorë të bujqësisë”, Tiranë, 2006
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Contrairement à ce qui pensait jusqu’a ce jour, le système des terminaisons personnelles du présent, de l’imparfait et du passé simple de l’indicatif dans le Meshari (Missel) de Gjon Buzuku, dans l’ouvrage mais surtout hors (par rapport à l’albanais standard), présente une mobilité évidente. On constate dans l’ouvrage un mélange des formants personnels aussi bien à l’intérieur d’un même type structurel de thèmes qu’en dehors de lui. Des formants personnels caractéristiques de verbes se terminant par une voyelle s’étendent aussi à des verbes se terminant par une consonne. Cette situation linguistique peut être expliquée par deux raisons principales: a) Par la tendance à généraliser des formants personnels plus généraux et plus expressifs. b) Par la tendance à thématiser des formes personnelles données plus usuelles et plus expressirees. Ces raisons, essentiellement de caractère analogique, ont été accompagnées par des influences phonétiques, rendant le système ancien de Buzuku assez mouvant et varié.
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This article is concerned with the word order problems of clauses of time and place and the theme–rheme division of these subordinate clauses. The questions of word order in these sentences are not so well treated, while questions of actual division are not treated at all. The former syntactic analyses of such clauses have not arrived at the formulation of fixed rules concerning the order of words in these sentences. In fact, this task is especially difficult to be carrying out in a free word-order language as Albanian. Nevertheless, based on samples from literary works the author of this paper has managed to explain the causes of a fixed order of words in these clauses. Among these reasons, the first are the logical ones: e.g. it is well known that in the cause–effect relation, the cause must anticipate the effect and this is reflected in the order of subjuncts and of preposed modifiers of the subordinate clause. In other cases, the wordorder of the members of the clause depends on structural reasons, e.g. when the adjunct is placed before the predicate of the subordinate clause, in order to be as close as possible to the predicate of the main clause. In other cases, the movement of the adjunct before the predicate is conditioned by the need of the subject to be part of the rheme. Structural reasons also come in the first place as concerns the predicate– subject or subject–predicate order in subordinate clauses. Some of subordinators of time and place keep intact their meanings, so that the postposition of the subject in the adverbial clause is somewhat justified, because it is known the fact that when an adjunct is placed at the beginning of the sentence, the subject goes to its end. There are also other factors that influence the postposition of the subject; such factors are the lexical nature of the predicate (e.g., verbs of movement want their subject after them), the mood of the verb (verbs in the subjunctive mood want the subject placed after them), the kind of subordinators (the si, sa, tek conjunctions don’t take a post posed subject). But more important are structural reasons. For example, in clauses of time with such verbs as fle, the auxiliary jam, jam në gjumë, the modal arrij + object and generally verbs that are closely related with the subject etc., this last comes before the predicate. In the position of subject at the beginning of the sentence there are other factors that influence, such as the expansion of the noun phrase with an external modifier, when the subject of the subordinate clause is part of the subject of the main clause, when as a subject of a post posed subject serves a pronoun etc.
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Një nga idetë më themelore të Sosyrit mbi gjuhën, siç është ajo e karakterit sistemor e strukturor të saj në suazën e shenjës, e huazuar prej tij nga shkencat e përpikta e të zbatuara dhe e futur në studimin pothuajse të çdo rrafshi të gjuhës, u bë tërheqëse edhe për studiues që mëtuan të shqyrtonin shtresa më specifike të leksikut e, në mënyrë të veçantë, leksikun terminologjik. I pari që veçoi një fushë të leksikut, në të cilën mund të zbatohej plotësisht koncepti i Sosyrit mbi gjuhën “ si sistem shenjash për të shprehur idetë dhe si sistem i mbyllur në vetvete “, ishte dijetari austriak, Eugjen Vyster. Vysteri i argumentoi dhe i konkretizoi mendimet e veta në mënyrë të hollësishme në veprën e mbrojtur si temë doktorate në vitin 1931 “ Standardizimi ndërkombëtar në teknikë “.
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In this article, we have presented a new approach to the analysis of adverbial constructions, which are often viewed as circumstants or adjuncts in Albanian linguistics. We argue that not all adverbials are circumstantial elements. We have proved that adverbial phrases have the functions of complements and adjuncts in the syntactic structure of a sentence. Adjuncts have been defined as nonobligatory constructions and complements as obligatory. It was shown that the sentence behaves distributionally just as though the adjunct wasn’t there. Complementizer phrases can be adjuncts as well, having the function of defining the proposition expressed semantically in the main clause.
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This article deals with the phenomenon of antonymy and homonymy in the Albanian lexicon of plant and animal world. There are analyzed in it the kinds of oppositions of the nominations of this world, based on different characteristics and features of plants and animals. Antonymic nominations are observed on the semantic level and on that of morphological expression. Homonymic nominations of these spheres have a wide use and large scale in different fields of the Albanian lexicon. Homonyms are also viewed from their degree of phonetical concordance and from the angle of their usage in communication. There, they enrich furthermore the modes of expression in Albanian.
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Among Albanian linguistic disciplines, syntax is the less developed one. The main reason of this backwardness is the interruption of contacts of our linguistics with developments in European and American linguistics, developments that have been tremendous these last 60 years, especially in the filed of syntax. As a result, for the Albanian students of language a number of key concepts of syntax have remained unknown, at the time when linguists in America and Europe based on these concepts made syntax a pilot discipline for other linguistic sciences. Such concepts are those of exocentric and endocentric constructions, the phrase (syntagma) and valence. The distinction between endocentric constructions (tatpurusha and dwandwa) and exocentric ones (bahuvrihi) were made by old Indian grammarians. These two concepts, which have been used even by our grammarians in the analysis of compound words, were used by Leonard Bloomfield also in the field of syntax. According to him, exocentric constructions are those where “the resultant phrase belongs to the form-class of no immediate constituent”, while endocentric constructions those where “the resultant phrase may belong to the same form-class as its head or center”, and have the same function as its head, as in fresh milk, poor John, which are noun phrases, because their head is a noun (milk, John) and may function as the subject of the sentence: we can say John is pleased or Poor John is pleased. From the introduction of the concept of endocentric constructions in syntax derives the concept of the syntactic phrase, as e syntactic unit between the sentence and the member of the sentence (syntactic word). This new concept was made part of syntactic analysis in the two sides of the Atlantic at the time when our syntacticians operated with only two last units. The concept of togfjalësh, introduced in our syntactic studies in the late sixties by S. Floqi, did not help to describe in depth the syntax of Albanian, because this concept entered under the influence of the Soviet linguistics, represented only one type of phrases, the phrase whose two constituents are meaningful words, that is nouns, adjectives, verbs or adverbs. Consequently, syntactic studies carried by Albanian syntacticians based on this concept did not treat prepositional phrases, phrases with only the heads, such as shirat and po fillojnë in the sentence shirat po fillojnë, or phrases with only one head, as Ecim. Natë etc., those remained unstudied or, in the best case were treated as separate compartments of syntax. The result of all this was that syntactic descriptions of Albanian made till nowadays have lost their coherence and generalization power.
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In order to decide the ethnic origin of a given community, language may be used as an important element. Comparing the speech of a given community with the speech of its neighbouring communities makes it possible to answer the above question. If the majority of linguistic features of a territorial variant is found in other neighbouring variants, than this is a proof that these communities are of the same ethnic origin. This is the path we have traced in our article to determine the ethnicity of the Himara municipality, which comprises the Himara town and Palassa, Dhermi, Vuno, Ilias, Pilur, Kudhes and Qeparo villages. The Himara town, Dhermi and Palassa villages are bilingual in Greek and Albanian, while the other villages are monolingual, but either in bilingual villages Albanian is the mother tongue of their speakers. The Albanian linguists in general have agreed that the Himara speech is part of the Southern Tosk dialect and more precisely in its main subgroup, in the Lab subdialect”. Since until now nobody has undertaken a study of this speech, the authors undertook the burden to describe the phonetic, morphologic, syntactic and lexical systems of this speech. Phonetically, the Himara speech is more similar with the speech of Argirocastra and of Ciamuria, first because of its inventory of six vowels; other phonetic features are found also in some of neighbouring speeches or in Southern Tosk. In its morphological system, the Himara speech preserves some old features found only in peripheric Southern subdialects, such as Ciamurishte and Arberesh of Albanian diaspora of Italy and Greece. Such features are the neutral gender of mass nouns as qumështit, djathët, vajt(ë), ujt(ë), mishtë etj.; the feminine gender of nouns litare, djepe, turpje, vërri, etc. that in other Lab spokens and in Tosk are of masculine gender; the old objective case of masculine nouns djalë, lumë, etc.: djalën, kalën, lumën, ballën, fshatnë, gardhnë, malnë, ftuan, etc.; the definite suffix -t in the forms of the plural genitive (lisavet, kalavet, malevet, etc.); the absence of the epenthetic sound -vin nouns ending in a consonant (miqet, pleqet, krushqet, etc.); the high frequence of the suffix -ra (pambukëra, plëhëra, drëra, detra, folera, etc.); the plural suffix -j in place of -nj: qirij, ullij, bij, kallij, etc.; the plural ending -ërë (kunetërë, meçërë, çamërë, etc.); the suffix -jë (dekëjë, humbëjë, ngrënëjë, sëmundëjë, etc.), which is only a step away from the suffix -lë of the old Albanian; the derivative suffix -ejë where other dialects have -esë: ngarkejë, shtrejë, etc.
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The first part of the paper discusses the construct of the body in different disciplines and cultural contexts, and the conceptualisation and phenomenology of the body in European cultural traditions (materialism, idealism, Greece and Judeo-Christian tradition; body, space, spatiality). With this in mind, the second part of the paper examines the elements of the poetics of the body in the novel The Kukotsky Enigma by Lydmila Ulitskaya. The proposed analysis focuses on the phenomena such as the third state, the temporal coding of bodily programmes, and considers the mutual conditioning of internal and external (spiritual and corporal) functions. The last part of the paper raises the issue of nudity and sanctity of the body in the framework of Biblical and Christian axiology.
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The idea of the convergence of man and machine is characteristic for the Italian futurism as well as for the Russian proletarian literature. The role of electricity and neoanimism which is relevant in both cases may be traced back to romantic vitalism. On the one hand Marinetti ascribes animation and emotion to inanimate matter and, on the other, he calls for the reduction of human psychology. Similar features can be found in proletarian poetry in Russia. But whereas the futurist body-machine is distinguished by aggressive dynamics and the stimulation of vital energy, the metaphorical fusion of man and the machine in Russia emerges from the ideology of collectivism and “productionalism”. In proletarian poetry, the affinity of the worker and the machine is described in terms of friendship and family relations while for Marinetti it has an erotic bias.
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The paper discusses the issue of the traditional organic/mechanic opposition, which in the 20th-century art transformed into a specific equivalence between the organic and the mechanic. The focal point of the paper is the praxis and manifesto of the Soviet artistic group Electroorganism, which produced very distinctive visual representations of the human body. The name of the group implies a self-sustained text that in paradoxical way reveals the opposition between the corporeal and the organic. In a long cultural tradition (since Romanticism) the organic and the corporeal were seen as synonymous but in the 20th century their equivalence turned into opposition. However, on the level of mythology they remain closely interconnected. The corporeal inherits the principle of continuity though the organic, which appears analytical and discreet: when combined, they complement each other. Artistic practices and especially artistic ideas of the group are discussed in the context of contemporary philosophy and ideology in relation to the body and electricity, in the writings of the priest and philosopher Pavel Florensky, the physiologist and politician Alexander Bogdanov, the poet and ideologist Aleksei Gastev, and others.
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Lyrics in popular music are an important site of language contacts, of hybridization and of symbolic and ludic use of linguistic material. They are a source and a vehicle of linguistic innovations. However, the study of lyrics mostly focuses on their relation with the global expansion of English, although various historically existing language practices in the receiving societies can shed additional light to the topic: in the case of Croatia, this would concern the contact points with Italian and German. The paper analyses examples from various music genres, and shows analogies with early modern and post-modern macaronic poetry and the linguistic witticism of popular and élite cultures, including the use of phonetic analogies and other selected features to create linguistic metonymy. On that basis, the paper argues that popular music should be both synchronically and diachronically integrated into culture, and proposes a typology of linguistic interpolations and interferences.
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The paper analyses the collections Mišolovka Walta Disneya (Walt Disney’s Mousetrap) (1996) i Anđeo u ofsajdu (An Angel in Offside) (2000) by Zoran Ferić through the lens of fairy tale based on the presumptions and expectations the contemporary reader has in relation to this genre. Contrary to the theories of the fixity of this genre which was in the form of a folk tale earlier transmitted from one generation to another (Propp 1928; Jolles 1930; Lüthi 1947), the paper appropriates a poststructuralist standpoint (Bogatyrev/Jakobson 1972; Ranke 1978; Brackert 1994; Klotz 2002; Bausinger 2004) and discusses fairy tale as a dynamic literary form that reflects important historical and cultural changes as well as different expectations of the recipients, which is why it can be adapted to different media.
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Starting with the thesis about literature as a socio-political phenomenon, the paper introduces the possibility of applying one of the concepts of New Historicism – the integration of subversion – to the study of the so-called “conflict of the Croatian literary left”. The famous New Historicist, Stephen Greenblatt proposes the adaptation of Foucault’s discourse analysis with the idea of channelling of political subversions by the centres of power. The scholar argues that what is at stake is the mutual interference of the centres of power and their subversion rather than their confrontation. The first part of the paper offers a short survey of the pre-war stage of the conflict of the Croatian literary left. The early debate focused on whether literature is a form of political propaganda or an autonomous category. The dominant figure in this debate, Miroslav Krleža, responded with a series of articles published in the 1930s, which argued for the balance between political engagement and artistic freedom in literature. Consequently, Krleža was politically marginalized. In the post-war stage of the conflict, Krleža was appointed the editor of the new literary magazine Republika (The Republic), the aim of which was to include him in the social life of the socialist regime. The analysis of the contributions published in the early years of Republika reveals the formulation of a new polemical wave with which Krleža disagreed and consequently left the editorial board of the magazine. However, after the Resolution of Informbiro, socialistic authorities changed their rhetoric by loosening socialist realism and introducing so-called controlled liberalism in literary production. This, in turn, increased the aesthetic quality of literary contributions published in Republika. Hence, the New Historicists’ concept of containment of subversion is applicable to the study of the interference between literature and politics after World War II.
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Broadening the scope of research on the poetry of Josip Sever by analyzing his “Labour Day” poems published in the journal Oko during the mid-1970s, this article discusses the ways in which Sever’s treatment of the avant-garde tradition changes in different contexts, and hence offers an alternative reading to the stereotypical interpretations of Sever as a postmodernist antiutopian writer. Sever’s poetry is thus revealed to be positioned in manifold ways in relation to a variety of intertextual coordinates ranging from the Soviet avant-garde to the local literary tradition. His poetry interprets and articulates such protocols in a distinctive way, ambiguously upholding the avant-garde’s constructive project. Furthermore, detecting the difference in the intertextual treatment of the avant-garde in Sever’s two collections of poems, on the one hand, and in the Oko poems, on the other, is useful for a more refined understanding of the basic categories in Peter Bürger’s Theory of the Avant-garde, especially the scholar’s distinction between the neo-avant-garde and the so-called post-avant-garde stages in art.
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